Local Theatre Auditions/Calls for Entry Print
Theatre - Auditions/Calls for Entry
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Tuesday, 01 December 2009 06:00
Updated: Monday, December 8:



December 14, 15, & 17: Little Red Riding Hood and Rumpelstiltskin: A Musical - Davenport Junior Theatre. Auditions for forthcoming productions of Little Red (January 2 - February 10 rehearsals, February 11 - 22 performances) and Rumpelstiltskin (March 1 – April 28 rehearsals, April 29 - May 10 performances). All students cast in the production will need to pay a $75 mainstage-registration fee. Davenport Junior Theatre. 2822 Eastern Avenue, Davenport, IA. For information, call 563-326-7862. Sunday, December 14 (1 - 3 p.m.), Monday, December 15 (5:30 - 7:30 p.m.), Wednesday, December 17 (5:30 - 7:30 p.m.).

January 6: Things My Mother Taught Me - Ohnward Fine Arts Center. Seeking four men and three women for the Peace Pipe Players' production of Katherine DiSavino's comedy directed by Richard Hall, running February 13 - 15. Be prepared to read from the script. Ohnward Fine Arts Center. 1215 East Platt Street, Maquoketa, IA. For information, call 563-652-9815 or e-mail This e-mail address is being protected from spambots. You need JavaScript enabled to view it . Tuesday, January 6 (7 p.m.).

January 10 & 11: Jesus Christ Superstar and Big Fish - Countryside Community Theatre. Auditions for the summer musicals Jesus Christ Superstar, directed by Jeff Ashcroft, running June 19-28, and Big Fish, directed by Christina Myatt, running July 10-19. Be prepared to sing up to 32 bars of a contemporary musical-theatre song and bring sheet music in the right key, as an accompanist will be provided. No pre-recorded music or a cappella singing allowed. Be prepared to dance and read from the scripts; callbacks held both days from 4-5pm as needed. North Scott High School Fine Arts Auditorium. 200 South First Street, Eldridge, IA. For information, e-mail This e-mail address is being protected from spambots. You need JavaScript enabled to view it or call 563-285-6228. Saturday, January 10 (noon - 4 p.m.), Sunday, January 11 (noon - 4 p.m.).

January 23 & 24: Urinetown - Quad City Music Guild. Seeking 20-25 performers for the Tony-winning musical comedy about a town where you pay for the privilege to pee, directed by Heather Beck and Patrick Downing. Those auditioning should be prepared to read from the script and sing up to 32 measures of a song which best suits your vocal range; bring sheet music for the accompanist. You will also be asked to learn a brief dance movement, so wear comfortable clothing and shoes. Callbacks Sunday at 1 p.m., if needed. Prospect Park Auditorium. 1584 34th Avenue, Moline, IL. For information, call 309-762-6610. Friday, January 23 (6:30 - 8:30 p.m.), Saturday, January 24 (1 - 4 p.m.).

May 23, 24, 26, 28, 30, 31, & June 2: Genesius Guild Summer Season. Auditions for productions of Puccini's Gianni Schicchi (running June 13 - 21), Shakespeare's The Merry Wives of Windsor (June 27 - July 12), Sophocles' Oedipus Rex (July 18 - 26), Shakespeare's Macbeth (August 1 - 9 ), and Aristophanes' Peace (Aug. 14 - 16);. Be prepared to read from the scripts. Lincoln Park. 11th Avenue & 38th Street, Rock Island, IL. For information, e-mail This e-mail address is being protected from spambots. You need JavaScript enabled to view it . Saturday, May 23 (1 p.m.), Sunday, May 24 (1 p.m.), Tuesday, May 26 (7 p.m.), Thursday, May 28 (7 p.m.), Saturday, May 30 (1 p.m.), Sunday, May 31 (1 p.m.), Tuesday, June 2 (7 p.m.).


Send information on calls for entry and forthcoming auditions to This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

What if Woody Allen and Mia Farrow had stayed together?

Three things that might not have happened:

1. The Woody Allen-Diane Keaton reunion. This, we know, definitely wouldn't have happened. Allen wrote "Manhattan Murder Mystery," his fizzy 1993 Hitchcock homage, with Farrow -- as usual -- in mind for the female lead, the neurotic wife-turned-amateur-sleuth of Allen's even more neurotic New York literary editor. That, of course, was before their relationship collapsed, so when the time came to make the film in the immediate aftermath of the breakup, Allen called in a favor from his former muse Diane Keaton. Their first film together since "Manhattan" 14 years previously, it was a fun nostalgia trip that earned Keaton a Golden Globe nod, though Allen admitted he'd have written the film differently for Keaton: "[Mia's] not as broad a comedian as Diane is... Diane made this part funnier than I wrote it." Might the Farrow-starring "Manhattan Murder Mystery" have been a more dramatic affair? In any event, the Woody-Diane reunion proved to be a one-night-only deal. She's not doing much these days -- how about it, guys? 

2. Woody's Eurotrip. Given that Allen didn't make a single film without Farrow in the 12 years they were an item, it seems reasonable to project that she would have remained a fixture in his ensembles as long as they'd remained together. That opens pretty much a limitless realm of "what if" questions regarding Allen's subsequent filmography. It's easy enough to see where Farrow would've slotted into, say, "Mighty Aphrodite" (sorry, Helena Bonham Carter); "Sweet and Lowdown," not so much. But it's his European phase of the new century -- his diversions into London, Barcelona and Paris -- that is hardest to imagine with Farrow on board: the liberated production focus and youthful focus of those films feel very much the result of a set-in-his-ways auteur consciously making a fresh start. Could he have made them with a partner of over 25 years' standing? An older-skewing "Midnight in Paris" could conceivably have been made with Allen and Farrow in for Owen Wilson and, perhaps, Rachel McAdams -- but would "Vicky Cristina Barcelona" have been written at all? 

3. Farrow suffers the curse of "The Omen." Working with Allen, along with raising their rambling family, was pretty much a full-time job for Farrow: in the time they were together, the only non-Allen feature she appeared in (voice work in "The Last Unicorn" excepted) was 1984's "Supergirl." Having only been served her partner's scripts for over a decade might have dulled her project-choosing abilities a bit -- not that Hollywood producers were likely giving the actress much choice as she headed into her fifties. A continued routine of annual Woody joints may well have removed Farrow from such projects (for better or worse) as Zac Braff's "The Ex," the "Arthur" animated franchise and sundry second-rate TV movies -- but she'd surely have been spared the indignity of chewing the scenery in 2006's limp remake "The Omen." She was the best thing in it, but still: better off out of it. 

Three things that might have happened:

1. Farrow does a whole lot more feature films... and perhaps gets that elusive Oscar nomination. With the exception, of course, of Roman Polanski, no filmmaker had a better idea than Allen of what to do with Farrow's fragile screen presence -- whether playing up to it in melancholy character studies like "The Purple Rose of Cairo" and "Another Woman," or casting her brashly and sucessfully against type in "Broadway Danny Rose." It'd have been interesting to see what roles he'd have written for her had they grown older together -- Farrow wrote in her autobiography that she felt disengaged from her ensemble roles in the later, sourer years of their relationship, but might a happier outcome have yielded more devoted valentines in the "Alice" or "Purple Rose" vein? And if so -- with her Allen collaborations having yielded multiple BAFTA and Golden Globe nods for the actress, as well as a National Board of Review win -- the Academy would have had to relent sometime, right?

2. Woody produces more dramatic fare. Allen's aforementioned comment Farrow's subtler comic style is a telling one: the early years of their relationship produced fleeter comic exercises like "Broadway Danny Rose" and "A Midsummer Night's Sex Comedy," but as the 1980s wore on, he seemed increasingly attuned to the inner dramatist that had previously written "Interiors" -- whether fused with comedy in films like "Crimes and Misdemeanors" and "Hannah and Her Sisters," or given to outright Bergmania in "Another Woman" and "September." It's speculative, of course, to say that the sensitive, serious-minded Farrow inspired this phase of his career, but it's worth noting that their breakup was immediately followed by a return to lighter comedies like "Bullets Over Broadway" and "Everyone Says I Love You." Would this tonal break have occurred had his personal life stayed on course? Perhaps, but we also might have waited a little less long for his return to dramatic writing in 2005's "Match Point" and this year's "Blue Jasmine" -- a film it's easy to imagine him writing for Farrow 20 years ago.

3. Woody gets Twitter. Okay, this is a silly one. But Farrow has proved surprisingly active on Twitter, using her feed both to abet her humanitarian work and to show off an unexpected streak of droll humor -- her dry, casual tweet a couple of weeks ago about watching "Sharknado" with Philip Roth fooled a lot of people and spawned a short-lived Twitter meme. If she's embraced it, could she have talked Woody into doing the same? Probably not. One senses he'd regard social media much as he does cars, Los Angeles or the Oscars -- with a mixture of disdain and terror. Still, a regular feed of mordant Woody one-liners would be a must-follow. And even if he couldn't be persuaded, there's the hope that Farrow would share some choice domestic tidbits.

Did history work out for the best?

Well, yes and no. One is loath to say that any breakup that hurts as many associated parties as this one -- and in such a public manner -- is "for the best," though both seem to have effectively moved on: Allen's marriage to Farrow's now-estranged daughter is still going strong, while Farrow has further filled her life with children and humanitarian work. But we're not passing a verdict on anyone's personal life: are their careers better for the way things turned out? Certainly not in Farrow's case, though perhaps she'd simply have lost her taste for screen acting anyway. Allen's filmography may have followed an uneven trajectory in the last 20 years, but it had never been blemish-free: I'd argue that his Farrow period was the richest and most adventurous of his career, but it still produced the occasional misfire. With "Midnight in Paris" having brought him a fourth Oscar last year, and "Blue Jasmine" currently earning him rave reviews, history has worked out pretty well for him -- though I'd say cinema is a little poorer for having fewer Allen-Farrow collaborations than it could have done.

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